Dissertations / Theses: 'Representations of the history'

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Sandonato, Nicole. "The History of Gender Representations in Teen Television." Thesis, Boston College, 2014. http://hdl.handle.net/2345/3869.

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Thesis advisor: William Stanwood
This research examines the history of gender representations in television programs designed for adolescents to discover how these portrayals have developed and changed over time in order to determine the perceived messages about stereotypical gender norms and roles for adolescents. These messages are important to decode as adolescent males and females can learn gender roles and behaviors from the teen programming that they watch on television. The study investigated the most popular teen television programs from each of the last three decades including Beverly Hills 90210, Buffy the Vampire Slayer, Smallville, One Tree Hill, Pretty Little Liars and Teen Wolf. The first part of the study completed was a textual analysis of the episodes. Secondly, a content analysis was performed on all of the examples from the episodes. The codes used for this study include Language, Sex Roles, Emotionality, and Traditional Roles. Although the majority of gender messages present were normative in that they reinforced gender roles and stereotypes, the findings also suggest that gender representations are becoming less normative as the genre continues to grow and develop
Thesis (BA) — Boston College, 2014
Submitted to: Boston College. College of Arts and Sciences
Discipline: Communication Honors Program
Discipline: Communication

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Hayward, Claire Louise. "Representations of same-sex love in public history." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/35048/.

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This thesis analyses the ways in which histories of same-sex love are presented to the public. It provides an original overview of the themes, strengths and limitations encountered in representations of same-sex love across multiple institutions and examples of public history. This thesis argues that positively, there have been many developments in archives, museums, historic houses, monuments and digital public history that make histories of same-sex love more accessible to the public, and that these forms of public history have evolved to be participatory and inclusive of margnialised communities and histories. It highlights ways that Lesbian, Gay, Bisexual, Trans*, Queer (LGBTQ) communities have contributed to public histories of same-sex love and thus argues that public history can play a significant role in the formation of personal and group identities. It also argues that despite this progression, there are many ways in which histories of same-sex love remain excluded from, or are represented with significant limitations, in public history. This thesis shows that the themes of balancing trauma and celebration, limited intersectionality, complex terminology, shared authority and the ghettoisation of same-sex love have emerged across a variety of public history types and institutions. It discusses examples of successful and limited representations of same-sex love in order to suggest ways that public history can move forward and better represent such histories.

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Stubbs, Jonathan. "Inventing England: representations of English history in Hollywood cinema." Thesis, University of East Anglia, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441622.

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This thesis examines the representations of English history in Hollywood cinema with a particular emphasis on popular films released between 1950 and 1964. Adopting a principally empirical and archival approach, I examine why Hollywood filmmakers and audiences have been so attracted to images and narratives from English culture, why these images and narratives have so frequently focused on England's past, and why the resulting English historical films became so prominent in the 1950s and early 1960s. My first chapter establishes a broad context for Hollywood's English historical cinema by tracing the history of Anglo-American relations from the eighteenthcentury. Further contextual material is provided in Chapter Two, which examines the presence of English historical material in the American film history up to 1950. Chapter Three examines the long script development of Ivanhoe (1952) and Knights of the Round Table (1953) and the ways in which they were redrafted to suit their changing political contexts. The remaining chapters focus on the period between 1950 and 1964. Chapter Four surveys the major production trends of the period, while Chapter Five examines the connections between the English historical films and British `runaway' production. Chapter Six analyses Around the World in 80 Days (1956) in the context of postwar American internationalism, while Chapter Seven examines a more ambiguous treatment of similar themes in Lawrence of Arabia (1962). Finally, Chapter Eight looks at the construction of an ostensibly more modem image of England in Tom Jones (1963) and the first three James Bond films.I argue that American investments in the English past during the 1950s and early 1960s can be traced to three historical developments: first, the newfound acceptability of English culture as British economic and political power diminished; second, the growing resemblance between England's imperial past and America's internationalist present; and third, the efforts of the Hollywood studios to adapt to a business model where profits increasingly derived from international markets.

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Schillinger, Stephen. "Common representations : Jack Straw and literary history as cultural history on the early modern stage /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9363.

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Whitaker, Jay Ernest. "Aesthetic representations of history : the question of the national allegory /." Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/whitakerj/jaywhitaker.pdf.

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Tipton, Joshua C. "Teacher Perceptions of Indigenous Representations in History: A Phenomenological Study." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3180.

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This qualitative study addresses teacher perceptions of indigenous peoples representation in United States history. This phenomenological study was conducted within a school district in East Tennessee. For the purpose of this study, teacher perceptions of indigenous representations in history were defined as teacher beliefs towards the inclusion and representation of indigenous peoples in United States history. To gather data, both one-on-one and focus group interviews were conducted from a purposeful sample of United States history teachers from the high schools in the school district. Through an analysis of data derived from interviews and qualitative documents the researcher was able to identify themes such as systemic challenges to multiculturalism within state course standards and textbooks, teachers’ perceived self-efficacy in teaching their students using indigenous perspectives, and the perpetuation of indigenous stereotypes. Furthermore, the qualitative data derived from the study reveals that U.S. history courses in the district perpetuate both the notion of indigenous peoples as historical bystanders and the racial stereotypes of Native Americans. Findings from this study will be useful in evaluating both teacher training and instructional practice in regard to indigenous representations in history.

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Tipton, Joshua C., Pamela H. Scott, and William F. Flora. "Teacher Perceptions of Indigenous Representations in History: A Phenomenological Study." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3020.

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This phenomenological study addressed teacher perceptions of indigenous representations in United States history within a school district in East Tennessee. Teacher perceptions of indigenous representations in history were defined as teacher beliefs towards the inclusion and representation of indigenous peoples in United States history. Individual and focus group interviews were conducted from a purposeful sample of United States history teachers from multiple high schools in the school district. The analysis of data revealed three themes: (a) systemic challenges to multiculturalism within state course standards and textbooks, (b) teachers’ perceived self-efficacy in teaching their students using indigenous perspectives, (c) and the perpetuation of indigenous stereotypes. Furthermore, analysis revealed that U.S. history courses in the district perpetuate both the notion of indigenous peoples as historical bystanders and the racial stereotypes of Native Americans.

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Tipton, Joshua C., Pamela Scott, and William Flora. "Teacher Perceptions of Indigenous Representations in History: A Phenomenological Study." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3038.

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Jarvis, Amelia. "Representations of Solitary Confinement in Four Ontario Penal History Museums." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/38682.

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This thesis examines representations of solitary confinement at four penal history museums in the province of Ontario, Canada: the Olde Gaol Museum in Lindsay, the L’Orignal Old Jail in L’Orignal, the Peel Art Gallery Museum and Archives in Brampton, and Kingston Penitentiary in Kingston. Engaging with Brown’s (2009) theory of “penal spectatorship” and Cohen’s (2001) work on states of denial, I investigate how these representations of solitary confinement challenge and/or reinforce the idea that segregation is a necessary practice in operational carceral institutions. I identify three dominant themes. The first theme is who ends up in solitary confinement and why. The museums justify the necessity of solitary confinement by emphasizing its usefulness in neutralizing dangerous and unpredictable prisoners, along with its supposed ability to promote prisoner protection and the management of mental health needs. The second theme pertains to the duration prisoners spend in solitary confinement and the conditions they experience. The museums do not problematize prisoners’ length of stay in solitary confinement, nor the conditions of the cells in which they are held, rather historical penal discourses are used to demonstrate improvements over time, without problematizing its present uses. The third theme arising from my analysis concerns the impacts of solitary confinement on prisoners. The museums emphasize the positive effects that solitary confinement can have on prisoners such as providing the opportunity for contemplation, while information on the negative effects of isolation including exacerbating or triggering mental health issues are largely absent. Taking these findings into consideration, I argue that the penal history museums I examined foster social distance between visitors and those in conflict with the law by legitimating the exclusion of the latter, while reinforcing the idea that solitary confinement is a necessary practice in carceral institutions today. .

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Sengupta, Nandini. "Representations of colonial intimacy in Anglo-Indian narratives." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2009. http://wwwlib.umi.com/cr/syr/main.

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Westwell, Guy. "History-in-images/images in history : American cultural memory and film representations of the Vietnam War." Thesis, University of Glasgow, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340278.

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This thesis charts points of convergence between the fields of historical studies and film studies that generate a line of inquiry which questions how the development and dissemination of film and television have significantly shaped historical conscIOusness. Taking this line of inquiry as a starting point, this thesis identifies the ways in which film (and television) representations have informed American cultural memory of the Vietnam War. The thesis describes how the reporting of the war in newspapers and on television results in the production of a number of vivid and powerful 'nodal images'; these images enable their viewers to locate themselves in relation to the larger event and offer guidance regarding how other representations produced in response to the war might be understood. The thesis goes on to explore how these images play a significant. role in secondary film and television representations, including Hollywood feature films, whereby the initial connotations of the image are recirculated, reenacted and re-scripted. The thesis also indicates how other film representation of the war - such as the film records produced by the American military for tactical and strategic purposes and amateur film produced by American military personnel- are side-lined by the dominance of these nodal images. This study closes by proposing a taxonomy of the key features of these film (and television) representations and profiles the ways in which these features determi~e American cultural memory of the war and mediate historical experience more generally. The conclusion arrived at is that the historical consciousness engendered by these representations encourages the meaning of the Vietnam War to be located in relation to individual phenomenological experience and that the priVileging of this experience above all others marginalises the wider frames of reference - politics, history, economics and so on - which might make that experience meaningful.

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Puder, Christopher W. "Egyptomania| American cultural representations of Egypt during the Cold War." California State University, Long Beach, 2013.

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Bailey, Catherine Widin. "Making History Stick: Representations of Naval Stores in North Carolina Museums." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1499450051.

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This thesis explores the extent to which three North Carolina museums, the North Carolina Museum of History, the Cape Fear Museum, and the Maritime Museum at Southport, represent the state’s history of naval stores. Being a crucial part of North Carolina’s past that is frequently ignored in the formal education system, naval stores should be highlighted in museum exhibits about the state’s history and heritage. A critical analysis of these exhibits shows how these representations form a significant part of civic engagement and suggests improvements that would enhance the education of audiences about the importance of naval stores to the historical development of the state.

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Kershaw, Hannah Charlotte. "History, memory, and multiculturalism : representations of Muslims in contemporary British fiction." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18198/.

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In a world that is both globalised and yet deeply divided, Muslim literary studies is crucial to understanding the complex relationship between Islam and the West. It is emerging as an inevitable and insightful field of enquiry that offers analyses of the growing body of fiction that explores the Muslim experience of Britain and the US. Contemporary fiction about Muslims is receiving substantial critical attention, and through this interdisciplinary thesis I show that it can also be a useful source in political theory. I make a contribution to this field by approaching contemporary fiction about Muslims through the lens of history and memory. I do this by examining a number of novels published from 1988 to 2015 that are either written by British Muslims or offer an insightful portrayal into the lives of Muslims in Britain. In the introduction to this thesis, I outline my theoretical framework, specifically how I apply the concepts of history and cultural memory. I also discuss the interdisciplinary nature of the work, drawing connections between political research and literary analysis. In Chapter One, I explore Zadie Smith’s White Teeth and Robin Yassin-Kassab’s The Road From Damascus, showing how close encounters in multicultural spaces do not necessarily suggest successful multiculturalism due to the ongoing evocation of colonial attitudes. In Chapter Two, I discuss Nadeem Aslam’s Maps for Lost Lovers and Monica Ali’s Brick Lane. I suggest that both novels consider the importance of cultural memory in how Muslim migrants understand their British identities. Chapter Three examines Salman Rushdie’s The Satanic Verses, moving away from debates regarding Islamic history and instead making connections between British colonialism and race relations in the 1980s. My final chapter discusses Leila Aboulela’s The Kindness of Enemies and Ahdaf Soueif’s The Map of Love. I argue that both novels use the concept of genealogy, or tracing ancestors, to interrogate cross-cultural relations in a time of imperialism and state violence. Ultimately, I submit that by approaching these texts through the theoretical lens of history and memory, we can gain a greater understanding of the Muslim experience of multiculturalism.

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Al-Khaldi, Mubarak Rashed. "Other narratives : representations of history in four postcolonial Native American novels /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu148795220810831.

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Cant, Anna Frances. "Representations of the Peruvian agrarian reform, 1968-75." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709371.

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Beasley, Ryan K. "Collective Interpretations and Foreign Policy: Aggregating Problem Representations in The Chamberlain Cabinet /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487931993467372.

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Dawkins, Sabrina Y. "Postmodernity and the history of African American religious representations a Foucauldian approach /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1505Dawkins/umi-uncg-1505.pdf.

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Thesis (M.A.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Mar. 11, 2008). Directed by Steven R. Cureton; submitted to the Dept. of Sociology. Includes bibliographical references (p. 103-115).

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Clark, Toby. "Representations of Russian Art in American Art History and Criticism 1917-1939." Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522624.

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This dissertation examines the critical reception and historical construction of Russian art in the United States between 1917 and 1939. The study focuses on two main types of Russian art; that of the Russian avant-garde, and that of artists who emigrated to the United States and achieved a high level of critical visibility and commercial success there during the 1920s. The discussion of the Russian emigre artists concentrates on the treatment of their work in the American curatorial system and art market. It examines the critical strategies used to promote these artists, particularly in the writings of Christian Brinton, who formulated a new category termed 'Slavic art' which relied on theories of racial essentialism. The subsequent decline of the careers of the emigre artists can be explained partly by reference to the reorientation in American critical values after the early 1930s. Research on the interpretation of the Russian and Soviet avantgarde in the United States is focussed on two main Modernist institutions; the Societe Anonyme during the 1920s and the Museum of Modern Art in New York after 1929. The Societe Anonyme's management of its large collection of Russian avant-garde art is discussed in relation to the contrasting aesthetic perspectives and political alignments of Katherine Dreier and Louis Lozowick, and compared with alternative interpretations in western Europe. The study of the representation of the Russian avant-garde by the Museum of Modern Art is concentrated on the writings of Alfred Barr and his critical theory of Modernism. Barr's account of the history of Russian Constructivism and Soviet cultural policies in 1936 is seen to have performed an important function for establishing an ideological position for the ascending discourses of American Modernism in opposition to the competing positions of conservative anti-Modernism and left-wing aesthetics.

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Baldridge, Kalyn Rochelle. "L'auguste Autrichienne| Representations of Marieantoinette in 19th Century French Literature and History." Thesis, University of Missouri - Columbia, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10629008.

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Maria Antonia Josepha Joanna, or as she is most well-known, Marie-Antoinette (1755-1793) spent her entire life under the watchful eye of many. Fashioned from birth as an Austrian aristocrat, she was transported to France at age fourteen to meet and marry the future king of France. From the onset of her arrival, French writers made attempts to capture what they observed. However, personal bias, political leanings, and accepted rumor led them to do more than record what they saw. Rather than simply narrate a scene, these early witnesses of Marie-Antoinette became the interpreters of her thoughts, motives and feelings. As these interpretations grew, they became widely accepted as truth and eventually became the agents leading to Marie-Antoinette’s demise, as previous biographers and historians of Marie-Antoinette have amply discussed.

In this dissertation I suggest going beyond an analysis of the literature that led to Marie-Antoinette’s death, and examining the numerous times that Marie-Antoinette’s story was reinterpreted during the century after her death. I will examine nineteenth-century texts from several different authors and genres, including: the historical biographies of Christophe de Montjoye, Lafont d’Aussonne, Alcide de Beauchesne, Edmond and Jules Goncourt, and Horace de Viel-Castel; the eye-witness testimonies of Jean-Baptist Cléry, Henriette Campan, and Rosalie Lamorlière; the historical fiction of Elisabeth Guénard Brossin de Méré and Alexandre Dumas; and finally the archival compilations of Emile Campardon and Gaston Lenotre. I will examine each author’s choice of genre, as well as how contemporary trends in literature, historical studies and even politics influenced their interpretation of Marie-Antoinette.

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Gjörloff, Per M., and Robert Gustafsson. "The Terrible Turk : Anti-Ottoman Representations in the 19th Century Swedish Rural Press." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-23500.

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Islamophobia has been pack and parcel in the Western civilisation from the days of Charlemagne via the Crusades and the rise of Orientalism, as opposed to Occidentalism, to the modern day reporting of Islamic terrorist threat. Many were fascinated by the degree of civilisation and the exoticism of the Ottomans, especially the sexual virtues (or lack thereof) were of particular interest of the travellers into the Ottoman Empire. This image quickly came to change by the mid 19th century when clashes between the British Empire and the Ottomans were increasingly common, especially in India who were part of the British Empire with a large Muslim population whose loyalties were with the Sultan of Istanbul. We have used a theoretical framework with the foundation in Edward Saïd’s orientalism as well as modern Islamic frame theory as published by Deepar Kumar, Ruth Wodak and J.R. Martins. The broader aim of this thesis is, through the use of both theories used by media studies scholars as well as traditional historians to explore how the Swedish people viewed Muslims through the eyes of the rural press in the 19th century. In particular, which frames were used depicting the Ottomans and did the coverage of the Ottoman Empire change during the 19th century?

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Thomas, Emma Jane. "The 'second Jezebel' : representations of the sixth-century Queen Brunhild." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/4185/.

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This thesis explores the representation of the sixth-century Merovingian Queen Brunhild. By examining seven of the divergent sources which present the queen, the construction of Brunhild, or multiple Brunhilds, is analysed through gendered, literary and political lenses. Rather than attempting to reconcile the extremities of depictions of this queen, during her life and after her death, I demonstrate that Brunhild is a series of historical and textual problems at different political moments. I also show that the themes damnatio memoriae, feud and queenship, commonly used to analyse her career, are inadequate to understand the queen herself, the authors who wrote about her, and the age in which they lived. Three main themes within Brunhild’s extensive career allow the exploration of the tensions inherent within the seven main sources which present her. The ‘construction of queenship’ is an examination into Brunhild’s move from Visigothic princess to Frankish queen, a transition often dismissed, but one which proves pivotal to understanding the queen’s later Visigothic dealings. The ways in which authors recognised her at the point of marriage is nuanced by their political context, looking back on the queen upon her husband’s death. The ‘politics of survival’ goes on to study Brunhild’s relationship with the church: first, the positive associations between a queen and piety, and then, the results when that relationship goes awry. It is Brunhild’s tension with the church which labels her ‘the second Jezebel’. Finally, ‘dynasty and destruction’ explores Brunhild’s relationship with her offspring. During three regencies, spanning three generations, the queen’s connection to her family was critiqued in different ways. Her involvement in Visigothic succession politics to the end of her career is examined, alongside Brunhild’s maternal image, and finally the accounts of her death. How Brunhild’s physical and political body is neutralised is crucial to understanding each author’s motives. There is no other early medieval queen with the textual afterlife of Brunhild and this thesis is the first full examination of the extremities of her representation. Subjected, it has been said, to damnatio memoriae, the vilification, or more literally, destruction of memory, Brunhild and her textual manifestation is read in an entirely new way. The contemporary recognition of this queen, together with her textual representation, betray a tension which illustrates that Brunhild was, in fact, more alive after she was dead.

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Heinonen, Alayna. "CONTESTED SPACES IN LONDON: EXHIBITIONARY REPRESENTATIONS OF INDIA, c. 1886-1951." UKnowledge, 2012. http://uknowledge.uky.edu/history_etds/1.

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Following the first world exhibition, the 1851 Crystal Palace Exhibition in London, exhibitions became routine events across the West that merged both education and entertainment to forward political and economic goals. For the most part scholars have taken the frequency, popularity, and propagandistic efforts of exhibitions at face value, viewing them as successful reassertions of the imperial, industrial, and technological superiority of Western nation-states. Though offering valuable insights into the cultural technologies of imperial rule, these works miss the complexities of imperial projects within specific temporal and geographical contexts. This manuscript traces the historical dynamics of India at exhibitions held in London during and after imperial rule: the 1886 Colonial and Indian Exhibition, the 1908 Franco-British Exhibition, the 1924-25 British Empire Exhibition, and the 1951 Festival of Britain. In historicizing the exhibitionary administration and display of India over time, this study argues for a more complex reading of exhibitions in which displays invoked a mélange of meanings that destabilized as well as projected imperial hierarchies. It also examines the ways in which Indians administered, evaluated, and contested imperial displays. Rather than seamlessly reinforcing imperial dominance, exhibitions, located within specific historical contexts, emerged as contested, multifaceted, and even ambiguous portrayals of empires.

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Forsyth, Susan J. "Writing Wounded Knee : representations of the 1890 massacre." Thesis, University of Kent, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285982.

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Scanlon, Helen. "Representations and reality : women and politicisation in the Western Cape, 1948-76." Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271031.

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Stokes, Christina E. "Re-envisioning history memory, myth and fiction in literary representations of the Trujillato /." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0021390.

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Weinstein, Philip. "Changing representations of mosquito borne disease risk in Reunion." University of Western Australia. European Languages and Studies Discipline Group. French Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0174.

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[Truncated abstract] In March 2005, the Indian Ocean island of Reunion, a former colony and now overseas department of France, saw the first cases of what was to become a massive epidemic of the mosquito borne viral infection Chikungunya. More than 250,000 people, one third of the Island's population, were subject to high fevers, rash, and joint and muscle pains over the next 18 months, yet the public health authorities in metropolitan France were arguably slow to take the epidemic seriously. The research presented here explores attitudes underlying the management of the epidemic by examining both metropolitan and local representations of mosquito borne disease from historical, epidemiological and media perspectives. The research seeks to answer the general question Does colonial history continue to influence the representation and management of mosquito borne disease in Reunion? Three parallel approaches are taken to answering this question, using a common framework of tropicality (a Western discourse that exalts the temperate world over its tropical counterpart, and overlaps with colonialism and orientalism). ... Several factors are likely to have contributed to the persistence of tropicality in public health practice in Reunion: Othering as a universal phenomenon; the cost of administering interventions to combat tropical diseases in the remote environments of French overseas departments and territories; the denial of a serious public health risk as a cultural trait in Reunion; and the significant role of the colonies in forming and maintaining the French national identity. It has to be acknowledged that historically, tropicalism does appear to have played one positive role in the management of mosquito borne disease:

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Gatti, Matthew. "Inside/Outside: Representations of Invisible Illness in The Who's Quadrophenia." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/506758.

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Music Performance
D.M.A.
In The Who’s second rock opera Quadrophenia, a fictitious teenager suffers from a mental illness that gives him four distinct personalities. Its main songwriter, Pete Townshend, uses the disorder and the four personalities as a means to represent the four members of The Who through the teenage protagonist, a young mod named Jimmy. Townshend reveals Jimmy’s disposition at the conclusion of a lament written from Jimmy’s perspective in Quadrophenia’s liner notes, in a harrowing confession: “Schizophrenic? I’m bleeding quadrophenic.” In this monograph, I will examine Quadrophenia for its representations of mental illness through textual, musical, and historical perspectives and how these perspectives provide evidence toward a storyline based around the cultural concept of madness. Mental illness is an invisible illness, for the inflicted does not present noticeable symptoms to others, making it difficult to perceive and accurately diagnose. That is why within popular culture, schizophrenia is oftentimes used interchangeably with multiple personality disorder (now known as dissociative identity disorder), as is the case with Jimmy in Quadrophenia. Although these disorders are not at all similar, both are considered under the broader umbrella of madness, a term which historically was of medical and legal significance but gained political and ideological meanings in our modern society. Quadrophenia was meant as a tribute and celebration of The Who’s beginnings within the mid-60s London mod subculture. The invisible illness aspect of the storyline is worth investigating for its avoidance of treating mental illness within the medical model, in which it is considered to be a deficit of normalcy that is in need of a fix or cure. Though Jimmy struggles with his illness, it is mostly viewed as part of his adolescent character and then further used as a way of musically and textually representing The Who and the musicians’ individual characters. The Who were the epitome of music and madness; their music often spoke in terms of deviance and disobedience, while their live performances were physical and objectionably loud, sometimes concluding with the destruction of instruments. Treating mental illness, as well as physical and developmental impairments, as difference rather than deficit, is a key principle of current disability studies and its cultural model of disability. This is in opposition to the biological model in the medical field. Society has constructed madness as a binary to sanity, and thus a contrast to normalcy. As this binary is still in practice today, society as a whole continues to stigmatize mental illness and forces it to remain invisible. The Who and their embodiment of mental illness in Quadrophenia are meant not merely to arouse sympathy for Jimmy, but also to empower mental illness as a basis of character strength. The following monograph begins with an introduction to music and disability studies regarding mental illness. The next chapter offers a glimpse into the literature on The Who and Quadrophenia, including a survey of a 2013 conference dedicated exclusively to Quadrophenia. Finally, a chapter analyzes representations of mental illness in Quadrophenia within the music, society, and The Who themselves before a brief concluding chapter.
Temple University--Theses

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Wolfson, Elizabeth Graff. "Pictorial Representations of Monkeys and Simianesque Creatures in Greek Art." Thesis, University of Missouri - Columbia, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13877177.

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Melissa, Morris Nicole. "Diversions of Empire: Geographic Representations of the British Atlantic, 1589-1700." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1281120681.

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Krisjansen, Ivan A. "A genealogy of unemployment : press representations in South Australia 1890's and 1930's /." Title page, table of contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09phk9262.pdf.

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Franaszczuk, Monika Cecilia. "Chopin Onscreen: Media Representations of Frederic Chopin." Oberlin College Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1531241114714343.

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Webb, Nicholas. "Representations of the seasons in early-nineteenth-century England." Thesis, University of York, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265368.

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Jockel, Joan Elizabeth. "Strategic Representations of Black Women in Late Eighteenth and Early Nineteenth-Century Masculine British Print." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1550153865.

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The two papers that comprise this Master's portfolio each explore colonial representations of black women and the constructed nature of imperial British masculinity in the late eighteenth and early nineteenth century. Both papers interrogate strategic portrayals of black women's bodily experience, character, and personal relationships as they appeared in print material such as newspapers, books, trial accounts, and pamphlets in the British Atlantic. Additionally, they analyze how British men in Caribbean colonies and the metropole used these representations as rhetorical tools to debate class-based understandings of masculine power. The portfolio collectively explores these questions in a broad context, investigating the racial and imperial implications of gender violence in British print sources, interrogating how white British men used race, ethnicity, and gender to construct and legitimize their identities, obscuring women of color's actual lived experience in the process. The first paper "'They Brutalize the Manners of Men': Black Female Bodies and the Construction of Colonial British Masculinity in the Abolition Debate for Jamaica (1772-1833)" looks at representations of enslaved Jamaican women in works written between the British Parliament's decision in Somerset v. Stewart (1771) and the Slavery Abolition Act of 1833, during which the debate over abolition was arguably at its most fervent. It argues that writers on both sides of the slavery debate saw the question of human-ownership as a question of masculine responsibility and right —and sought to express it in terms of racialized and gendered bodies. They formulated simplistic portrayals of enslaved women as contrastingly in need of paternal protection from physical brutality and the victimization of predatory interracial relationships – or as in need of harsh structure and white domination to protect them from the natural degradation of black culture. It further asserts that while pro and antislavery advocates used racial and gendered constructions differently, for seemingly opposite ends, both sets of writing ultimately furthered racial anxieties and stereotypes and obscured lived realities through the symbolic high-jacking of enslaved female bodies. The second paper, " 'Delightful Horror' and 'Guilty Fascination': British Masculinity and Strategic Race and Gender Portrayals in The Torture Trial of Louisa Calderon (1806)" focuses specially on the prominent case of the former British colonial governor of Trinidad, Brigadier-General Thomas Picton and his trial for the torture of the young, free woman of color Louisa Calderon. It argues that the case allowed Britons to link issues of imperial regime and colonial subjects to the masculine treatment of colonial women of color. Colonial elites and metropolitan reformers strategically employed visual and written portrayals of Louisa Calderon and Thomas Picton's free, mixed-race mistress, Rosetta Smith, to debate control over the colonial periphery and its subjects (strategies of militant control and sexual dominance vs. imperial reform and sexual restraint). This resulted in a debate over the character of black women and white men, a debate that posited a set of opposed fictional icons: the pure, vulnerable, black woman in need of protection from depraved and overly powerful corrupt white men or the evil temptresses from whom white society/white men needed protection.

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Tembeck, Tamar. "Performative autopathographies: self-representations of physical illness in contemporary art." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40725.

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Performative Autopathographies examines firsthand representations of physical illness produced by selected professional artists since 1980. Through pointed case study analyses, it shows how contemporary autopathographies function beyond therapeutic expression by articulating political, aesthetic, and metaphysical positions (e.g., autothanatography) in relation to lived experience. Notions of pathography, performativity, acting forms, confession, dialogism, and the ethics of response are presented in the Introduction. Chapter 1 reviews the literature relevant to the emergent field of “cultural illness studies,” situated at a disciplinary crossroads between medical humanities and visual / cultural studies. It outlines the research undertaken on pathography thus far, and details the relational, restorative, political and aesthetic stakes that characterize the practice. Chapter 2 examines the “performalist” photography of Hannah Wilke, conducted in response to her mother’s cancer and her own. Wilke’s pathographic works are read with the guidance of Aby Warburg’s Pathosformel, which helps to generate my notion of the “formula of pathos.” Chapter 3 considers Jo Spence’s construction of a living archive through her photographic treatment of illness. Contrasting her production to other circulating images of breast cancer, the chapter details how Spence built a critical visual culture of disease. The performative aspects of Spence’s “phototherapy” are discussed, while her final works are interpreted along the framework of autothanatography. Chapter 4 considers the semiotics of the body in pathographic choreography. The historical associations between disease and dance are retraced before considering works by Jan Bolwell and Bill T. Jones. Critic Arlene Croce’s notorious reaction to Jones’ Still/Here furthers the discussion on the ethics of response and responsibility in receiving pathographic works. Findings from these case studies of autopat
Autopathographies Performatives s’intéresse à une sélection d’autoreprésentations produites par des artistes professionnels depuis 1980 qui traitent de maladie physique. À travers des analyses d’études de cas, la thèse démontre comment les autopathographies contemporaines vont au-delà d’une expression strictement thérapeutique en articulant des positionnements politiques, esthétiques et métaphysiques (cf. autothanatographie) sur leur vécu. Les notions de pathographie, performativité, formes agissantes, confession, dialogisme et de l’éthique de la réception sont présentées dans l’Introduction. Le premier chapitre entreprend l’analyse des documents des études culturelles sur la maladie, au croisement des sciences sociales de la médecine et des visual/cultural studies. La recherche existante sur la pathographie y est résumée, ainsi que les enjeux relationnels, thérapeutiques, politiques et esthétiques qui la caractérisent. Le deuxième chapitre examine la pratique «performaliste» de Hannah Wilke, réalisée autour du cancer de sa mère et du sien. Ses œuvres pathographiques sont analysées à l’aide du Pathosformel d’Aby Warburg, qui nous permet de générer la notion de « formule du pathos ». Le troisième chapitre explore la construction d’une archive vivante par Jo Spence au moyen du traitement photographique de sa maladie. Contrastant sa production avec différentes images du cancer du sein, ce chapitre décrit comment Spence construit une culture visuelle critique de la maladie. Les aspects performatifs de sa « photothérapie » sont abordés, tandis que ses dernières œuvres sont interprétées selon le cadre de l’autothanatographie. Le quatrième chapitre se penche sur la sémiotique du corps dans la chorégraphie pathographique. Les associations historiques entre la danse et la maladie y sont retracées, avant d’aborder des œuvres de Jan Bolwell et Bill T. Jones. La réaction notoire de la critique Arl

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Sayer, Karen Anne. "'Girls into demons' : nineteenth century representations of English working class women employed in agriculture." Thesis, University of Sussex, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316811.

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Hochner, Nicole. "Representations of power in early modern France : Louis XII, the Father of the People." Thesis, University of Cambridge, 1997. https://www.repository.cam.ac.uk/handle/1810/272324.

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Jones, Paul Alastair Michael. "The representations of Royalists and Royalism in the press, c. 1637-1646." Thesis, Keele University, 2012. http://eprints.keele.ac.uk/3850/.

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Developing from the recent surge of interest in the Royalist cause during the Civil Wars, this thesis explores the question of how Royalists were portrayed in the press between 1637 and 1646. It addresses the question through textual analysis and specifically examines printed material in an effort to investigate the construction of Royalist identity as well as the peculiarities of Royalist discourse. At its most fundamental level, this thesis seeks to address the issue of Royalist identity, and in doing so suggests that it was predicated on an inconsistent and problematic form of English patriotism. According to the argument presented here, Charles I led a cause that was supposed to protect and champion the core institutions and cultural norms upon which the very nature of Englishness rested. Royalism existed to preserve England from what were perceived as the foreign and anti-English agendas of Parliament. An underlying argument in this thesis is that Royalist print aspired to define and anchor language, with the implication that textual meaning was solidly formed and unquestionable. Royalist text, unlike that of Parliament, was supposed to represent truth, effectively rendering Royalist print a force for stability in an increasingly chaotic world. Alongside its focus on the ways in which the Royalist press tried to fashion an English identity for the King’s supporters, this thesis also explores the image of the cavalier stereotype. It aims not to debunk such a stereotype, but to explore the implications behind it and show how they challenged and undermined the Royalists’ Englishness.

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Williamson, Peter. "So I can hold my head high, history and representations of the Oka crisis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0005/MQ43298.pdf.

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Meyer, Birga Ulrike. "Difficult displays : Holocaust representations in history museums in Hungary, Austria and Italy after 1990." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46490.

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This study analyses how history museums in Austria, Hungary and Italy, represent the Holocaust. With close reference to debates about European Holocaust commemoration, it addresses how these exhibitions in countries closely related to Germany during the Holocaust construct the past as an object of knowledge/power. It also examines how the conceptualisation of historical agency assigns meaning and creates specific subject positions for the visitor. The research includes 21 different permanent exhibitions, established after 1989/1990, from which four, deemed representative, form the case studies. In Austria the author chose the Zeitgeschichte Museum in Ebensee, in Hungary the Holokauszt Emlékközpont in Budapest, and in Italy the Museo della Deportazione in Prato and the Museo Diffuso della Resistenza, della Deportazione, della Guerra, dei Diritti e della Libertà in Turin. Within the case studies Birga U. Meyer analyses how prisoner uniforms, perpetrator photographs, objects from concentration camps, and (video-) testimonies of survivors are displayed. The method is a discourse analysis following Michel Foucault, applied to museum exhibitions by Mieke Bal. Daniel Levy’s and Natan Sznaider’s view that global, national and regional discourse formations form new, hybrid narratives provides the theoretical framework. The findings suggest that three worldwide approaches to the Holocaust structure the exhibitions: the division of the Holocaust into four stages; an emphasis on perpetrator history; and an attempted pluralisation of the victim groups. These structuring elements are explained via national narratives, which exemplify, change, adapt or supplement the worldwide components. Regional discourses are less decisive and European discourse formations not yet influential to the museum representations. The mode of representation draws in each case on an aesthetics understood as the adequate representation of the Holocaust in that national context. What the exhibitions have in common is an authoritative presentation of one historical truth and an illustrative, functional use of primary sources. Historical agency – the forces/actors responsible for historical developments – is assigned to different agents: developments within society; the perpetrators; the victims; or everyone. It is this that distinguishes the different exhibitions from one another: and in result the meaning given to the Holocaust and subject positions offered differ.

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Williamson, Peter (Peter Blanche) Carleton University Dissertation Sociology and Anthropology. "So I can hold my head high; history and representations of the Oka crisis." Ottawa, 1997.

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Newport, Sarah. "Writing otherness : uses of history and mythology in constructing literary representations of India's hijras." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/writing-otherness-uses-of-history-and-mythology-in-constructing-literary-representations-of-indias-hijras(d884b37f-417b-478d-9f19-e00d2129c327).html.

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This thesis explores the construction and use of the hijra figure in fictional literature. It argues that hijras are utilised as both symbols of deviance and central points around which wider anti-sociality circulates. In order to contextualise these characters and offer a deeper understanding of the constructed nature of their representations, this thesis works with four frames of reference. It draws respectively on Hindu mythology (chapter one), the Mughal empire and its use of eunuchs, which the authors of fiction use to extend their representations of hijras (chapter two), British colonialism in India and its ideological frameworks which held gender deviance to be a marker of under-civilisation (chapter three) and the postcolonial period, in which hijras continue to fight for their rights whilst attempting to survive in an increasingly marginal social position (chapter four). Examining the literary material through the lens of these four frameworks shows, historically, the movement of the hijras in the public imaginary away from being symbols of the sacred to symbols of sexuality and charts the concurrent shift in their level of social acceptance. In terms of their literary representations, it is seen that authors draw upon material informed by each of the four frameworks, but never in simple terms. Rather, they work imaginatively but often restrictively to produce an injurious or detrimental image of the hijras, and they apply multiple historical frameworks to the same narratives and individual characters, with the result of marking them as timeless figures of eternal otherness. The image of hijras as sacred beings in Hindu mythology is recast as them being terrifying figures who are liable to curse binary-gendered citizens if their extortionate demands are not met (chapter one). The political prominence of Mughal eunuchs and their position as guardians of sexual boundaries and purity become treasonous political manipulation through the enactment of secret plots, often involving sexual violence, to impact on political events (chapters two and three). The criminalisation of hijras as a means of pushing them out of public visibility becomes naturalised anti-sociality and a shadowy existence at the social margins (chapter three). Finally, in a public environment which has both seen a major increase in campaigns for hijra rights and acceptance, but which has met with fierce opposition, the hijras are overburdened with associations which render them as hyperbolic and ultimately unsustainable figures (chapter four). Ultimately, these constructions facilitate sensationalised storylines set in the criminal underworld. Whilst the thrilling nature of these stories has the potential to capture a readership, this comes at the expense of the hijra characters, who are rendered as inherent criminals, sexual aggressors and wilfully anti-social. Campaigns to protect hijras as a third-gender category, guarantee their legal rights and end their criminalisation for the first time since 1860 have been publicly prominent since 2001; these campaigns are now coming before parliament and formal decisions are expected imminently. Examining understandings of hijras outside of their communities is thus politically timely and necessary for disrupting the cycle of overburdening them as society's gendered scapegoats, contributing to a project of more nuanced understandings necessary for their social integration.

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Klein, Deborah Rochelle. "Negotiating femininity, ethnicity and history : representations of Ruth First in South African struggle narratives." Doctoral thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/19000.

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An exploration of South African historiography through the prism of representations of activist writer Ruth First (1925-1982) forms the focus of this thesis. Ignored in South African canonical histories during the apartheid era, Ruth First is frequently portrayed as an icon of the struggle in current accounts about the past. The dissertation is ordered by five central discussions: gender, political activism, Jewishness, maternal behaviour and the role of the individual in the community. With reference to her non-fiction writing, autobiographical accounts by her daughters and her contemporaries, photographic exhibitions and transcriptions of amnesty hearings to the Truth and Reconciliation Commission (amongst other works), I trace Ruth First's presentation of identity through communications of dress, posture and language. I examine too the production of her image across time in South African culture. Imprisoned under the infamous Ninety-Day law in 1963, Ruth First subsequently wrote a memoir titled 117 Days: An Account of Confinement and Interrogation under South African Ninety-Day Detention Law (1965), which became known as a classic of the genre. Caught between her commitments to racial equality and a life of social privilege, between the demands of motherhood and her sociological research work in Africa, between performances of a white femininity and the suppressed ramifications of a difficult ethnic past, Ruth First shuttles between unsatisfactory subject positions. I propose here that Ruth First strains against the representative mantle which she is made to wear in post-apartheid tributes to the past, and which she herself sometimes donned as a lifetime member of the South African Communist Party, and later the African National Congress. As the daughter of poor Yiddish-speaking Jews from Lithuania, I propose that Ruth First is marked by a history of dislocation, immigration and revolutionary activity which she refused to acknowledge. I undertake my own historiographical exercise through which I re-situate Ruth First within an alternate heritage of Jewish activist women. An understanding of the historiographical process as a series of continuous adjustments of the past to politicized positions in the present underlies my examination. Includes bibliographical references (p. 308-326).

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Downing, Emma C. "Agents of Soviet Decline: Mass Media Representations of Prostitution during Perestroika." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1558917654946012.

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Parkes, Alan. "Age of Quarrel| Subcultural Representations of Neoliberal Ethos in New York City Hardcore Punk, 1980 - 1990." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784423.

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The intersection of hardcore punk and New York City during the 1980s compels a long-overlooked investigation. Unlike the subculture’s scene in any other city, New York hardcore regularly transformed itself to combat the changing social structures that surrounded it. At the start of the 1980s, New York City’s economic failure, subsequent decline in infrastructure, and increase in crime and drug abuse directly influenced a bourgeoning hardcore scene. Hardcore sought to create an inclusive alternative to New York’s deteriorating streets and the dangers they presented. However, white, hypermasculine idolization flowed throughout hardcore punk as an often-unrecognized challenge to the scene’s inclusivity. The scene’s glaring white, male homogeneity symbolizes New York hardcore’s most engrained paradox. Thus, investigation of hardcore’s incongruities urges examination of both the subculture as a mental space, in which inclusive objectives led members’ ideals, and its physical space, in which white masculinity condoned exclusion. Exploring how an evolving mental space, from creation to reformation, materialized into a constant masculine physical space reveals that throughout the decade hardcore succumbed to the social and cultural influences it intended to defy.

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YAU, Ka Lo. "From invisible to visible : representations and self-representaions of Hakka women In Hong Kong, 1900s-present." Digital Commons @ Lingnan University, 2016. https://commons.ln.edu.hk/his_etd/8.

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What we perceive as the essential characteristics of Hakka women today are in fact historically constructed and utilized for various purposes by different agents, including Western missionaries, Hakka elites, museum curators and heritage preservationists. This long historical process has made the Hakka women increasingly visible in the public scene. Some scholars argue that it was the men who attempted to manipulate the representations of Hakka women to justify their exploitation of women. As Hung Hsin-lan and Helen Siu have reminded us, the study of Hakka women should be liberated from the lens of exploitation and victimhood and we should position Hakka women in relation to Hakka men to achieve a more balanced analysis. In addition to examining the historical writings about Hakka and Hakka women since the nineteenth century, this thesis focuses on Hong Kong, and also considers the topic through a gender lens, to evaluate the roles that Hakka women have played in the museums and in the surging wave of cultural preservation. The aim of this thesis is to explain how Hakka women have been represented in various media and what has constituted our current perceptions and (mis)understandings toward Hakka women. While the Hakka women have been singled out to represent Hakka culture and have enjoyed the opportunity to create their self-representations, where have the Hakka men gone? What does it mean by a ‘Hakka’ when the Hakka identity is historically constructed in the first place? The present research adopts a combined historical and anthropological approach to rethink the images of Hakka women and review the interactions between the representations and self-representation of Hakka women in the displays and heritage preservation, which point to the broader themes of the interplays between colonialism and ethnicities, the politics of display, gender studies on exhibition and cultural heritage, and the impacts of global cultural trends on local culture formulation.

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Turnbull, Lindsey. "White and Black Womanhoods and Their Representations in 1920s American Advertising." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5544.

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The 1920s represented a time of tension in America. Throughout the decade, marginalized groups created competing versions of a proper citizen. African-Americans sought to be included in the national fabric. Racism encouraged solidarity, but black Americans did not agree upon one method for coping with, and hopefully ending, antiblack racism. White women enjoyed new privileges and took on more roles in the public sphere. Reactionary groups like the Ku Klux Klan found these new voices unsettling and worrisome and celebrated a white, native-born, Protestant and male vision of the American citizen. Simultaneously, technological innovations allowed for advertising to flourish and spread homogenizing information regarding race, gender, values and consumption across the nation. These advertisements selectively represented these changes by channeling them into pre-existing prescriptive ideology. Mainstream ads, which were created by whites for white audiences, reinforced traditional ideas regarding black men and women and white women's roles. Even if white women were featured using technology or wearing cosmetics, they were still featured in prescribed roles as housekeepers, wives and mothers who deferred to and relied on their husbands. Black women were featured in secondary roles, as servants or mammies, if at all. Concurrently, the black press created its own representations of women. Although these representations were complex and sometimes contradictory and had to reach multiple audiences, black-created ads featured women in a variety of roles, such as entertainers, mothers and business women, but never as mammies. Then, in a decade of increased tensions, white-created ads relied on traditional portrayals of women and African-Americans while black-designed ads offered more positive, although complicated, visions of womanhood.
M.A.
Masters
History
Arts and Humanities
History; Public History

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Altink, Henrice. "Representations of slave women in discourses of slavery and abolition, 1780-1838." Thesis, University of Hull, 2001. http://hydra.hull.ac.uk/resources/hull:3124.

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Seidel, Chalet K. "Representations of Journalistic Professionalism: 1865-1900." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1264199952.

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Jutila, Alexander Lee. ""An Abyss of Anarchy, Nihilism, and Despair"| Historical Representations of Anarchists in Britain." Thesis, The University of North Carolina at Charlotte, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=13419186.

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Studies on historical representations of anarchists tend to focus on terrorist depictions and how they compare to the actual activities of the anarchist movement. Using British print media, this thesis explores other political, cultural, and social representations of anarchists in an effort to expand the field beyond a strict focus on terrorism. In addition, this thesis will also investigate the ways Cesare Lombroso and Havelock Ellis shaped discussions of anarchists in the British public sphere.

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Dissertations / Theses on the topic 'Representations of the history'

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